By Various. For Flute, Guitar. Fentone Instrumental Books. Play Along. Grade 3. ...(+)
By Various. For Flute,
Guitar. Fentone
Instrumental Books. Play
Along. Grade 3. Softcover
with CD. 20 pages.
Fentone Music #F881400.
Published by Fentone
Music
(A Method for the Beginning Flutist and Melodic Studies for the Advanced Player)...(+)
(A Method for the
Beginning Flutist and
Melodic Studies for the
Advanced Player). By
Phyllis Avidan Louke. For
Flute, Flute Duet. This
edition: Second Edition.
Instructional. BEGINNING
- INTERMEDIATE. Method
book. Standard notation.
Composed 2009
Flute and Piano - very easy, easy SKU: BT.DHP-1196124-404 Flauto. ...(+)
Flute and Piano - very
easy, easy
SKU:
BT.DHP-1196124-404
Flauto. Arranged
by Markus Schenk.
Ascolta, Leggi e Suona.
Opera or Operetta. Book
with Part and
Audio-Online. Composed
2019. 80 pages. De Haske
Publications #DHP
1196124-404. Published by
De Haske Publications
(BT.DHP-1196124-404).
ISBN 9789043157346.
Italian.
Ascolta
, leggi & suona
rappresenta oggi il testo
di riferimento dedicato
all’insegnamento
della musica per ottoni e
legni. Questo fantastico
metodo, costituito da
libro e CD, include
canzoni, indovinelli
musicali e giochiche
permetteranno all'allievo
principiante di
progredire nella
conoscenza della musica,
fornendogli al contempo
utilissime informazioni
sul suo strumento e
numerosi brani da suonare
divertendosi. I tre
volumi che
compongonol’opera
sono i primi della
collana e sono affiancati
da testi contenenti
materiale supplementare
per i differenti livelli
del corso.
Incontra
l’opera offre
utile materiale
complementare a tutti e
tre i volumi della
serieAscolta, leggi &
suona e include arie
famose, cori e
ouvertures, proposti
secondo un ordine di
difficolt crescente. Una
selezione delle più
belle melodie mai scritte
per l’opera,
corredate da un quadro
storico
esplicativo.L’alli
evo potr esercitarsi da
solo, utilizzando le
tracce registrate
disponibili online,
scaricabili o ascoltabili
in streaming. Questa
edizione contiene
l’accompagnamento
pianistico, arrangiato
sapientemente a un
moderatolivello di
difficolt .
Treble recorder and basso continuo (cello ad libitum) - easy to intermediate ...(+)
Treble recorder and basso
continuo (cello ad
libitum) - easy to
intermediate
SKU:
HL.49017077
Composed
by Robert Valentine.
Edited by Beatrice Ruf
and Hugo Ruf. This
edition: Saddle
stitching. Sheet music.
Woodwind. Book only. Op.
3. 36 pages. Schott Music
#OFB 205. Published by
Schott Music
(HL.49017077).
ISBN
9790001148955. UPC:
841886009165.
9.0x12.0x0.137
inches.
Robert
Valentine, born in
Leicester around 1680,
was one of the few
English masters of
Baroque music who
achieved fame and enjoyed
a high standing beyond
the borders of his home
country instead of
within. He made his
fortune in Italy where he
seemed to have spent most
of his lifetime. It is
assumed that he returned
to England in 1731. He
died at an unknown place
around 1735.Valentine was
a talented composer.
Apart from some
concertos, he mainly
wrote and published solo
sonatas, trio sonatas and
duets, works who clearly
show his preference for
the flute, he himself
being a flutist.
Music Minus One Flute. Composed by Johann Sebastian Bach (1685-1750). Sheet musi...(+)
Music Minus One Flute.
Composed by Johann
Sebastian Bach
(1685-1750). Sheet music
with CD. Music Minus One.
Classical. Softcover
Audio Online. 8 pages.
Music Minus One #MMO3302.
Published by Music Minus
One
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F).
ISBN
9781491131725. UPC:
680160680252.
Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work.
Music Minus One FLUTE Edition. Composed by Various. Music Minus One. Latin. Soft...(+)
Music Minus One FLUTE
Edition. Composed by
Various. Music Minus One.
Latin. Softcover Audio
Online. 28 pages. Music
Minus One #MMO3366.
Published by Music Minus
One
Telemann for Two 2 Flûtes traversières (duo) Theodore Presser Co.
Chamber Music 2 flutes SKU: PR.114418600 Volume I, Fantasias 1-6. ...(+)
Chamber Music 2 flutes
SKU: PR.114418600
Volume I, Fantasias
1-6. Composed by
Georg Philipp Telemann.
Arranged by Sharon
Sparrow Jeffery Zook. Set
of performance scores.
56+56 pages. Duration 20
minutes. Theodore Presser
Company #114-41860.
Published by Theodore
Presser Company
(PR.114418600).
ISBN
9781491111543. UPC:
680160642656.
Telem
ann for Two Volume I,
Fantasias 1-6 arranged
for Two FlutesWhat could
be more delightful than
playing Telemann duets,
or playing the Telemann
Fantasias? Sharon Sparrow
and Jeffery Zook have
created a remarkable set
of duet adaptations of
the Fantasias,sounding as
if Telemann himself had
composed them as two-part
inventions. The original
Telemann works are shared
between the two players,
mixed with counterpoint
to enhance the authentic
solo works. The result is
equally suitable for
formal recitals and
recreational duet
playing! The present
publication includes two
performance scores of
their settings of
Fantasias 1-6, with a
Volume II to include
Fantasias
7-12.____________________
__________________Text
from the scanned back
cover:SHARON SPARROW is
Assistant Principal Flute
of the Detroit Symphony
Orchestra. She began
musical studies on piano
at age four, but it was
the flute that led her to
the Juilliard School for
a Bachelor degree with
Julius Baker. She
received her
Master’s degree
with Thomas Nyfenger at
the Mannes College of
Music. Sharon’s
professional career began
in the Memphis Symphony,
followed by tenured
positions in the Fort
Wayne Philharmonic and
Detroit Symphony, and
guest positions in the
Hong Kong Philharmonic,
Baltimore, Chicago, and
Pittsburgh Symphonies. In
2016, Presser published
her successful audition
training book, 6 Weeks to
Finals, and she is a much
sought after coach for
audition candidates
across the country, as
well as a frequent Master
Class clinician at major
schools including Boston
University and Peabody
Conservatory.JEFFERY ZOOK
has been a member of the
Detroit Symphony
since1992. His formal
musical studies began at
Interlochen and continued
at University of Michigan
and the Royal Academy of
Music in London. His
teachers have included
William Bennett and
Trevor Wye. A prize
winner in the NFA Young
Artists Competition, Mr.
Zook made his solo debut
with the Detroit Symphony
as a senior in high
school, and has since
performed all the Vivaldi
concerti with them. He
has recorded extensively
for MusicMinus One and
performed frequently at
NFA conventions,
including the concerto
gala in 2017. Mr. Zook
has served on the faculty
at University of Michigan
and Oakland University.
In 2002 Zook and Sharon
Sparrow founded the
Detroit Flute Connection,
a series of masterclasses
for flutists.
Music Minus One Flute. Composed by Antonio Vivaldi (1678-1741). Sheet music. Mus...(+)
Music Minus One Flute.
Composed by Antonio
Vivaldi (1678-1741).
Sheet music. Music Minus
One. Classical. Softcover
Audio Online. 20 pages.
Music Minus One #MMO3315.
Published by Music Minus
One
Music Minus One Flute. Composed by Carl Reinecke (1824-1910). Music Minus One. C...(+)
Music Minus One Flute.
Composed by Carl Reinecke
(1824-1910). Music Minus
One. Classical. Softcover
Audio Online. 24 pages.
Music Minus One #MMO3368.
Published by Music Minus
One
Music Minus One Flute. Composed by Antonio Vivaldi (1678-1741). Music Minus One....(+)
Music Minus One Flute.
Composed by Antonio
Vivaldi (1678-1741).
Music Minus One.
Classical. Softcover
Audio Online. 20 pages.
Music Minus One #MMO3314.
Published by Music Minus
One
For Flute. Classical (orchestral). Includes a high-quality printed music score a...(+)
For Flute. Classical
(orchestral). Includes a
high-quality printed
music score and a compact
disc with stereo
accompaniments to each
piece minus you, the
soloist. Published by
Music Minus One.
Santorella Publications' proudly boasts our connection to some of the best studi...(+)
Santorella Publications'
proudly boasts our
connection to some of the
best studio players in
the Los Angeles studio
circuit. Each one of
these great musicians,
when they are not in a
session or performing on
a new movie soundtrack,
are giving lessons to
horn players of all ages.
Santorella Publications
is setting a new trend in
the industry by making it
possible for you to study
with these talented
professionals in a
virtual world with Learn
From A Pro. Mark
Hollingsworth will walk
you through all 23
lessons as if you're
sitting in a studio by
his side. If you went to
Los Angeles and took 23
lessons, it would cost
over $1,000.00. Now you
can Learn "Flute" From A
Pro for only $12.95 and
in the privacy of your
own home. Whether you are
an early beginner or an
adult, here is your
chance to fulfill that
dream. Do something for
yourself and learn to
play today with
Santorella's Learn From A
Pro series. About your
private instructor, Mark
Hollingsworth Mark
Hollingsworth began
studying music at five
years of age. His
background includes both
classical and jazz
training. After high
school Mark won a
scholarship from Berklee
College of Music in
Boston and graduated
Magna Cum Laude, with a
major in woodwind
performance. Mark has
over fifteen years
experience as a studio
musician in Los Angeles
recording for movies,
albums, television
broadcasts and numerous
"jingles" as well as
cartoons for Warner
Brothers and Walt Disney.
He has also performed in
concerts with a wide
range of artists
including Quincy Jones,
Natalie Cole, Celine
Dion, Whitney Houston,
Donna Summer and
Manhattan Transfer to
name a few. Some of
Mark's most significant
accomplishments include
memorable television
appearances with Stevie
Wonder, Ray Charles,
Michael Bolton and
Michael McDonald . He has
worked on numerous
recordings with Tom
Petty, Luther Vandross,
U2, the Library of
Congress and soundtracks
for the Ren and Stimpy
show. Mark's musical
breadth also includes
skills on an extensive
collection of flutes from
around the world. For
more information about
Mark Hollingsworth visit:
www.windshoremusic.com.
Music Minus One Flute. Composed by Various. Sheet music. Music Minus One. Classi...(+)
Music Minus One Flute.
Composed by Various.
Sheet music. Music Minus
One. Classical, Contest.
Softcover Audio Online.
16 pages. Music Minus One
#MMO3327. Published by
Music Minus One
Music Minus One Flute. Composed by Various. Sheet music. Music Minus One. Classi...(+)
Music Minus One Flute.
Composed by Various.
Sheet music. Music Minus
One. Classical, Contest.
Softcover Audio Online.
20 pages. Music Minus One
#MMO3326. Published by
Music Minus One
Music Minus One Flute. Composed by Various. Sheet music. Music Minus One. Classi...(+)
Music Minus One Flute.
Composed by Various.
Sheet music. Music Minus
One. Classical, Contest.
Softcover Audio Online.
16 pages. Music Minus One
#MMO3332. Published by
Music Minus One
Lohengrin-Fantasy Flûte traversière et Piano - Intermédiaire/avancé Schott
(Flute and Piano). By Giulio Briccialdi (1818-1881). Arranged by Nikolaus Delius...(+)
(Flute and Piano). By
Giulio Briccialdi
(1818-1881). Arranged by
Nikolaus Delius. For
Flute, Piano. Il Flauto
Traverso (Flute Library).
22 pages. Schott Music
#FTR179. Published by
Schott Music
For Flute. Classical (Laureate Master Classes with piano). Includes a high-quali...(+)
For Flute. Classical
(Laureate Master Classes
with piano). Includes a
high-quality printed
music score annotated
with performance
suggestions and a compact
disc with complete
versions (with soloist)
followed by piano
accompaniments to each
piece, minus the soloist.
Published by Music Minus
One
Published by Santorella Publications. The Moonlight Sonata also known as "Quasi ...(+)
Published by Santorella
Publications. The
Moonlight Sonata also
known as "Quasi Una
Fantasia" may be
considered as one of
Beethoven's most
recognizable themes. This
emotionally melancholy
masterpiece, published by
Santorella Publications,
is heard as the backdrop
to countless venues.
Weddings, recitals and
film scores are a few
diverse examples of its
use in today's
more...marketplace. This
arrangement by Tony
Santorella, edited by
Jonathon Robbins for
flute and piano is a
great addition to any
classic woodwind
repertoire.